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Bruce Dowbiggin

Fission For Truth: Oppenheimer The Genius, The Hero, The Communist

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Snap movie review: What The Right Stuff was to the space race, Oppenheimer is to the race to create The Atomic Bomb— plus, Communism.

Yes, Christopher Nolan turning a film about the esoteric building of the Bomb into virtuoso cinema is stunning. So is juggling a cast laden with stars such as Cillian Murphy, Matt Damon, Robert Downey Jr., Emily Blunt, Tom Conti, Remi Malek and Gary Oldman. In Nolan’s telling Oppenheimer might just as well have been named It’s Complicated as he’s swallowed by the vicious politics surrounding him urging more and bigger bombs.

Less surprising, considering today’s zeitgeist, is Oppenheimer’s lengthy diversion into communist politics in the West from 1930-1960. Liberal Hollywood is still obsessed with the 1950s House Un-American Activities Committee blacklist that saw the film community split by those, like Elia Kazan, who testified about their Commie past, and those like Charlie Chaplin, Ring Lardner Jr., and Orson Welles who clammed up— and lost much of their livelihood.

Previous Tinseltown efforts to demonize senator Joseph McCarthy’s anti-communists include Good Night, And Good Luck about journalist Edward R. Murrow’s defiance of HUAC; The Way We Were with dedicated lefties Barbra Streisand and Robert Redford as star-crossed commies in 1950s Hollywood; The Front with Woody Allen as a beard for writers barred from Hollywood; Trumbo with Bryan Cranston as the eponymous Dalton Trumbo, the banned screen writer; Chaplin with Downey Jr. as Charlie Chaplin pursued by the HUAC heavies; and Hail Caesar! the Coen Brothers’ witty spoof on Hollywood communism.

Oppenheimer is not them. In lesser hands the father of the atomic bomb would be a naïf, the baddies really, really bad. Maybe the A bomb would be a setup job, like Covid-19, from the powers of the day. He never stood a chance. But Nolan is not a studio hack.

Given the collective artistic amnesia about HUAC, Nolan patiently recreates the times as America heads into its existential race for the atomic bomb against Nazi Germany. Many of intellectuals on the Manhattan Project were disillusioned by WW I and the Depression and— inspired by the Russian Revolution— saw the future in communism. They permeated every layer of the state, right up the Queen Elizabeth’s art consultant.

Nolan’s take on Oppenheimer empathizes with their worldview. His friends, lovers and colleagues are all— or were— unapologetic Marxists. He is tailed by the FBI, pestered by union leaders. But Oppenheimer, played hauntingly by Murphy, apparently steers clear of getting a card in the Party, especially when the U.S. Army pays a call and General Louis Gates, played by Damon, asks him to lead the Manhattan Project.

In this principal plot line, the U.S., not the Nazis, get the Bomb. Nolan orchestrates a great chase that ends up with Oppenheimer a national hero for his work. And a target on his back. Oppenheimer, now guilt-stricken over the impact of the bombs, tells president Harry Truman that he has blood on his hands after Nagasaki and Hiroshima. To which Gary Oldman’s Truman calls him a “cry-baby scientist… I don’t want to see that son of a bitch in this office ever again.”

Here the film might easily have concluded to the satisfaction of many. But Nolan shows Oppenheimer later punished for preaching détente with the Russians, sharing nuclear secrets to create mutually assured destruction (which eventually happened). The final scenes where he’s denied his security clearance under cross examination from actor Jason Clarke are brutal— then he’s betrayed by Lewis Strauss, his mentor at the Atomic Energy Commission. There are suggestions that ant-semitism— many of the Manhattan Project scientists are Jews— also plays a part is his being banned.

Ambivalence is at the heart of Oppenheimer. Nolan sees his protagonist as a brilliant-but-flawed man. But, like the authors Kai Bird and Martin Sherwin, whose book was the source for Oppenheimer, he sees no communist.

However, that conclusion is under assault. Researchers Harvey Klehr and John Earl Haynes insist that even when their biography came out in 2005, “there was already abundant evidence that Oppenheimer had indeed once been a member of the Communist Party of the United States. Their efforts to explain away or obfuscate the clear evidence that Oppenheimer lied under oath about it have been further eroded by material that has emerged from Russian archives since. But… writer-director Christopher Nolan did not look deeper into the question when he crafted his screenplay.”

While useful idiots like singer Pete Seeger were in denial about the USSR’s spying well into the 1970s, many fellow travellers had begun to see the horror’s of Stalin’s Russia in the 40s, the pitiless show-trial politics and the murder of millions by a cruel orthodoxy. They’re given a pass here as duped innocents, even when the USSR signs the Molotov pact with the Nazis and the Rosenburg’s perfidy was exposed.

Rather than fess up, most simply pivoted on Marxism, saying “That wasn’t real Communism under Stalin”— a line they repeated about Mao, Pol Pot and other heartless dictators. As we see today, they’re making a comeback under the guise of world government or financial controls.

Perhaps the most amazing thing about Nolan’s impressive movie is the fact that a three-hour drama about a science nerd in the 1940s is on its way to earning a billion dollars at the box office. Just when most had surrendered film output to comic-book heroes, #BLM propaganda and feminist rom-coms, Oppenheimer is a celluloid unicorn.

Yes, the IMAX-enhanced depictions of particle physics and atomic fission are as stunning as Spiderman or Batman (a previous subject for Nolan). So is the magnetic soundtrack. But this is a movie to which you must give your attention the entire time. It’s for adults, and we can hope that more of this intelligent subject material is permitted.

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Bruce Dowbiggin @dowbboy is the editor of Not The Public Broadcaster  A two-time winner of the Gemini Award as Canada’s top television sports broadcaster, he’s a regular contributor to Sirius XM Canada Talks Ch. 167. Inexact Science: The Six Most Compelling Draft Years In NHL History, his new book with his son Evan, was voted the seventh-best professional hockey book of all time by bookauthority.org . His 2004 book Money Players was voted sixth best on the same list, and is available via http://brucedowbigginbooks.ca/book-personalaccount.aspx

BRUCE DOWBIGGIN Award-winning Author and Broadcaster Bruce Dowbiggin's career is unmatched in Canada for its diversity and breadth of experience . He is currently the editor and publisher of Not The Public Broadcaster website and is also a contributor to SiriusXM Canada Talks. His new book Cap In Hand was released in the fall of 2018. Bruce's career has included successful stints in television, radio and print. A two-time winner of the Gemini Award as Canada's top television sports broadcaster for his work with CBC-TV, Mr. Dowbiggin is also the best-selling author of "Money Players" (finalist for the 2004 National Business Book Award) and two new books-- Ice Storm: The Rise and Fall of the Greatest Vancouver Canucks Team Ever for Greystone Press and Grant Fuhr: Portrait of a Champion for Random House. His ground-breaking investigations into the life and times of Alan Eagleson led to his selection as the winner of the Gemini for Canada's top sportscaster in 1993 and again in 1996. This work earned him the reputation as one of Canada's top investigative journalists in any field. He was a featured columnist for the Calgary Herald (1998-2009) and the Globe & Mail (2009-2013) where his incisive style and wit on sports media and business won him many readers.

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Bruce Dowbiggin

Jerry Came to See The Babies. And They Walked Out On Him

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Cometh the hour, cometh the comedian. Or, you can learn a lot about a demographic by what makes them laugh.

The legacy/ lunacy media schvitzed itself over a few furious sociology majors and look-at-me drama queens walking out on Jerry Seinfeld’s commencement address at Duke University last weekend. But the significance of his admission that he was 70 was probably far more newsworthy to those now in retirement, binge-watching his eponymous TV series on one of those down-the-dial channels.

If we had a dollar for every Boomer who said, “Seinfeld is 70?” while watching the address we’d be Warren-Buffett-rich this morning. He doesn’t look like any 70 year olds we know. Fifty? Maybe. But listening to his familiar delivery, the mocking on his honorary degree costume, it was easy to believe that we, too, are much younger than our blood-thinner prescriptions say.

It also pointed out the evolution of Boomers’ comedic tastes. When they came of age in the late 1960s/ early 1970s Woody Allen best profiled as his generation’s comedic muse. With a dozen classic movies ranging from What’s New Pussycat (1965) through Play It Again Sam (1972) to Annie Hall (1977) Allen’s self-deprecating nebbish captured the romantic/ridiculous self-image of Boomers with “Some drink deeply from the river of knowledge. Others only gargle”.

The neurotic, insecure Allen then decided to become Ingmar Bergman, and Boomers— now assembling jobs, children and first spouses— moved on. But for that 12-year span the bedraggled standup comedian was the go-to with lines like “Just because you’re paranoid doesn’t mean they aren’t out to get you” and  “The only love that lasts is unrequited love.”

Woody’s pointed contemporary political references in those years were few (conflating “D’you” for “Jew” with Tony Roberts in Manhattan) and self-deflating (see Annie Hall). His most prominent political jabs were framed in absurdist material like Love And Death and Bananas. Culturally he was merciless but affectionate about his Brooklyn upbringing. In short his were perfect date movies for Boomers seeking love to advertise their pretensions.

Flash forward from Woody to Seinfeld (created with Larry David) which was anti-romantic in the extreme. The characters were sociopaths. The situations often cringeworthy. The 24-minute formula harkened back to Lucy and the Honeymooners. And while schlock like Friends trod the same ground it was Seinfeld that somehow captured the Boomer  zeitgeist. 

Why? Boomers going through middle age were too disillusioned with how life was turning out to romanticize anymore. The self-obsessed characters were people they knew from work, school and dealing with government. Smirking Bill Clinton was the face of an era. “When we did my show in the 90s, it was so easy to make fun of things. It was so easy,” Seinfeld told Amy Schumer.

Significantly, Seinfeld the Show was cultural. Or quasi-cultural. It was never about politics per se. It was about the people who thwart you in life. Whose vanity ruins your plans from school days. Who go 50 mph in the left lane. “When is Jerry going to see the baby?” It rarely challenged its fans on an emotional level. It was mostly about navigating madness.

And often about the most mundane elements of life. The address on the weekend contained The Seinfeld Doctrine of Lowered Expectations. “It’s easy to fall in love with people. I suggest falling in love with anything and everything, every chance you get. Fall in love with your coffee, your sneakers, your blue zone parking space. I’ve had a lot of fun in life falling in love with stupid, meaningless physical objects. 

“The object I love the most is the clear-barrel Bic pen — $1.29 for a box of 10. I can fall in love with a car turn signal switch that has a nice feel to it, a pizza crust that collapses with just the right amount of pressure. I have truly spent my life focusing on the smallest things imaginable, completely oblivious to all the big issues of living.”

Reaching across the generations Seinfeld delivered Dad jokes and bromides to kids who education probably cost $100 K a year. “I think it is also wonderful that you care so much about not hurting other people’s feelings in the million and one ways we all do that,” he said. Then he explained why that might be a fruitless pursuit. Not in Curb Your Enthusiasm darkness. But sobering.

That’s why it was in character for him to let the furious demonstrators depart at Duke without comment. So was appearing at Duke, the Ivy League of Tobacco Road, founded by the people who made jillions selling nicotine. And why he let them garb him like Thomas Cromwell in the absurd 16th century cape and hat so he could score few laughs.

Because laughter is his means of dealing with jerks like the outbound Hamas crowd. “What I need to tell you as a comedian: Do not lose your sense of humour. You can have no idea at this point in your life how much you are going to need it to get through. Not enough of life makes sense for you to be able to survive it without humour.”

Yes, He has been vocal lately about the effect of political correctness ruining TV comedy. Drawing flak from former friends and fans who are in the Biden re-education camps at the moment. But his annoyance at ruining an art form far outweighed any complaints about Covid and Ukraine.

As opposed to the nihilism of his former partner David, his insouciance and comic patter represent an antidote for where most of his original fans are at the moment. Woody Allen, their former idol, is now seen as a pedo and a failed nouveau vage auteur. Disillusioned with virus lies, electoral shenanigans and soaring prices, Boomers on a pension are unanchored, floating through what used to be North American society (when only women had babies).

In fact, Boomer spectators watching Seinfeld’s 17-minute speech maybe summed it up for themselves by recalling the Seinfeld mantra, “It was a show about nothing.” And they’d be right. Jerry is the man for those times.

Bruce Dowbiggin @dowbboy is the publisher of Not The Public Broadcaster  A two-time winner of the Gemini Award as Canada’s top television sports broadcaster, he’s a regular contributor to Sirius XM Canada Talks Ch. 167. Now for pre-order, new from the team of Evan & Bruce Dowbiggin . Deal With It: The Trades That Stunned The NHL & Changed Hockey. From Espo to Boston in 1967 to Gretz in L.A. in 1988 to Patrick Roy leaving Montreal in 1995, the stories behind the story. Launching in paperback and Kindle on #Amazon this week. Destined to be a hockey best seller. https://www.amazon.ca/Deal-Trades-Stunned-Changed-Hockey-ebook/dp/B0D236NB35/

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Bruce Dowbiggin

Why Do The Same Few Always Get The Best Sports Scoops?

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The Toronto Maple Leafs made the “what colour is that green light?” decision to fire their head coach Sheldon Keefe last week. The removal of Keefe after five years followed a dispiriting first-round playoff series loss to a very ordinary Boston Bruins team. Coaching may or may not have been the root cause of that loss. (Keefe himself admitted “teams are waiting for the Leafs to beat themselves”.)

The real reason for the firing is 1967, and we don’t think we need add more than that.

In essence, the management of MLSE— the owner of the Maple Leafs and a lot of other sports stuff in Toronto— needed to throw a body to the baying hounds of disappointment. Also known as Leafs Nation. Newly minted CEO Keith Pelley, fresh from the PGA Tour/ LIV psychodrama, was certainly not going to pay the price.

Nor was GM Brad Treliving who has only been on the job for two seasons. The key decisions on Toronto’s lopsided salary cap were decided long before Treliving occupied his desk. That left two people in vulnerable positions. 1) Maple Leafs president Brendan Shanahan, who has been drawing an MLSE cheque for a decade. 2) Keefe.

When was the last time you saw a coach fire a team president? Precisely. Keefe joins the list of (briefly) unemployed coaches who circulate in the NHL like McKinsey consultants. Shanahan gets a lukewarm mulligan from Pelley. But after the failure of the Kyle Dubas experiment— “who needs experience?”— and now just a single playoff series win in a decade Shanny’s best-before date has arrived.

Toronto Maple Leafs president Brendan Shanahan attends a news conference in Toronto on April 14, 2014. Toronto Maple Leafs president Brendan Shanahan said Peter Horachek will remain the team’s interim head coach until the end of the season. Shanahan met the media Friday for the first time since coach Randy Carlyle was fired on Tuesday. THE CANADIAN PRESS/Chris Young

Depending on who he and Treliving enlist to coach— remember, Mike Babcock was too tough and Keefe was probably too player friendly— it had better produce instant results. Because Shanny, the pride of Mimico, is out of chances. The coach choice will also be affected by whichever player or players that management decides are superfluous to ending the Leafs’ ridiculous run of misery.

The Leafs brass’ press conference last Thursday did little to shed light on what happens after Keefe’s expulsion. Just a lot of MBA determinism on a bed of baffle gab. A crabby Steve Simmons question/rant briefly threatened the harmony of the moment, but order was restored. And the media bitching switched from the press box to social media and podcasts.

Speaking of the fourth estate, the other unmentioned aspect of this story— indeed every story in the NHL these days— is just how it was revealed to the public. When people sipped their morning Tim’s or Starbucks the (almost) coincident bulletins came down the social media pike about Keefe’s dismissal.

Predictably, Chris Johnston of Sportsnet and Daren Dreger of TSN announced the breaking news within heart beats of each other. While there had been speculation on Keefe’s fate for days, the announcement coming from the networks duo confirmed the story in the minds of the industry. That allowed everyone else drawing a cheque as a hockey journalist to pile in and swarm the dead body.

In today’s sports journalism, where social media has replaced newspapers, scoops are governed by a protocol. There are the heralds— in the NHL it’s currently Johnston and Dreger— and then there are the disseminators. The days of a rabble of reporters all scrambling to get a story bigger than who-will-play-in-tonight’s-game are gone. Today, it’s a very narrow funnel for scoops.

It’s the same in the NFL where Ian Rappaport (NFL Network) and Adam Schefter (ESPN) monopolize the tasty scoops on behalf of their employers, who also happen to be NFL rights holders. In the NBA, Brian Windhorst (ESPN) has the inside rail when it comes to the LeBron James/ Steph Curry scoops. In MLB… it’s probably Ken Rosenthal  (The Athletic) but no one cares about baseball anymore, do they?

The leagues like it this way, doling out stories to guys they can trust. None of this is criticism of Johnston or Dreger, who have deftly maneuvered themselves into the coveted “from their lips to your ears” spots. From our own experience we can remember the exhilaration of having the best source or sources on the really big stories. Like Johnston/ Dreger, we worked hard for a long time to develop those sources and only very reluctantly let anyone else horn in on our stories.

It was also our observation that this order of things journalistic suited a lot of reporters who either couldn’t get good sources or didn’t want the stress of being first on stuff. It was enough that, like the Keefe story, they’d get the goods eventually and most fans would not care who was first. So long as you had a take. So be it.

Some resentful types took potshots at our work if it upset their pals in the dressing room or the management suite. On the Stephen Ames/ Tiger Woods story in 2001, we had the late Pat Marsden tell us on air that we’d done a great job on Ames’ criticisms of Tiger. Only to hear him lambaste us— again on FAN 590— only minutes later as we listened driving home from the studio. But we digress.

Many reporters are complacent in playing the game, so long as their bosses didn’t enquire why they are getting scooped all the time by the same few rivals. With the death of daily newspapers that doesn’t happen much any longer. (Many editors today may only see stories when publication brings a libel notice.) For them a salty take is good enough.

The scoop business is also affected by the multiple roles now demanded of sports media types. In addition to their “day job” on a beat they also have to supply digital content and talk-back hits to the Mother Ship. Most also are feeding a weekly podcast, dictating time on air rather than time working the phone. There are only so many hours in a day to chase a story.

Better to play the Breaking News waiting game.

Bruce Dowbiggin @dowbboy is the publisher of Not The Public Broadcaster  A two-time winner of the Gemini Award as Canada’s top television sports broadcaster, he’s a regular contributor to Sirius XM Canada Talks Ch. 167. Now for pre-order, new from the team of Evan & Bruce Dowbiggin . Deal With It: The Trades That Stunned The NHL & Changed Hockey. From Espo to Boston in 1967 to Gretz in L.A. in 1988 to Patrick Roy leaving Montreal in 1995, the stories behind the story. Launching in paperback and Kindle on #Amazon this week. Destined to be a hockey best seller. https://www.amazon.ca/Deal-Trades-Stunned-Changed-Hockey-ebook/dp/B0D236NB35/

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